Prime time and late night are usually filled with journalists like Barbara Walters and white comics. But come June, the fledging African-American cable network Aspire wants you to have choices.

Which is why the network, owned by NBA legend Earvin ‘Magic’ Johnson, announced last week that it would premiere Exhale, a new nighttime gab fest featuring five women of color. Journalist Angela Burt Murray, comic Erin Jackson, web sensation Issa Raye, Rene Styler, and actress Malinda Williams were tapped to host the hour-long talk show, on which they will chat about everything from relationships and child-rearing to natural hair care. This fall will also see the return of late-night favorite and Johnson’s good friend Arsenio Hall. Queen Latifah will have a daytime show.

The Great Gatsby, director Baz Luhrmann’s $127 million 3-D film adaptation of the celebrated 1925 novel by F. Scott Fitzgerald, is earning cheers and jeers from critics—in nearly equal measure.

For the uninitiated, the film is set at the height of the Roaring ‘20s—a time of glitz, glamour, and illegal booze. Nick Carraway (Tobey Maguire) is a struggling bond trader who rents a summer cottage next to the mysterious mega-rich Jay Gatsby (Leonardo DiCaprio) on the Long Island coast. The enigmatic Gatsby throws over-the-top weekly parties, which we later learn are to attract the attention of Carraway’s cousin, Daisy (Carey Mulligan)—a socialite Gatsby is hopelessly in love with. Unfortunately for him, Daisy is married to the brutish Tom Buchanan (Joel Edgerton), a classist, racist old-money scoundrel who cheats on her with the working class Myrtle Wilson (Isla Fisher). Gatsby, with the help of Carraway, attempts to rekindle his romance with Daisy.

10. Police Helicopter Shootout Looks Like Video Game

This shocking video is real, not just a screengrab from Call of Duty. The footage, taken in May 2012 but only recently made public, shows a Brazilian police chopper chasing after—and shooting wildly at—the fleeing car of drug lord Marcio “Mathematician” Pereira.

“The rainforest will heal you on so many different levels. The ayahuasca gives you the visual journey of what you’re going through on a physical and meta-physical level. It’s good.”

Ladies and gentleman, meet Demi Moore’s alleged new boyfriend.

Baz Luhrmann’s over-the-top $127 million 3-D film adaptation of The Great Gatsby, the celebrated 1925 novel by F. Scott Fitzgerald, has earned mixed reviews. But one thing most people can agree on is the parties that Gatsby, played by Leonardo DiCaprio, throws are pretty out-of-control—thanks to the design and costume work by Luhrmann’s Oscar-winning wife and producing partner, Catherine Martin (with a tip of the hat to Miuccia Prada and Brooks Brothers).

But where do Gatsby’s jazzy, champagne-poppin’ parties stand among the wildest movie parties ever?

In this week’s top music-video picks, we take a journey through a postapocalyptic world, a jewelry heist, and vibrant stop-motion animation. From hip-hop to electronic and indie rock, and featuring artists like Fun. and Queens of the Stone Age, see which music videos are becoming viral.

David Bowie: “The Next Day”

Is there any female character in American literature more coquettish and coveted than Daisy Fay Buchanan? She’s the most desirable debutante, the ever-evading maid. She’s warm, feverish, thrilling, intoxicating—a siren, an enchantress, a blossoming flower. She’s Galahad’s chalice; she’s Guinevere and the Grail. She’s the quintessential Southern belle, cool in her white dress with her white mansion and her little white mobile. She’s the enchanted object, the great American dream, all bright eyes and a voice full of money—and of course she’s the light, that green light, drawing men, mothlike, to her flame. She’s the golden girl and the incorruptible angel and all the Platonic ideals that artists and poets throughout the great ages have required their muses to be.

She’s also—at least for many of The Great Gatsby’s readers—a rather unpleasant inamorata, at best infantile and impressionable, and at worst, possibly selfish to the point of pathology. In his afterward to the 1992 edition, publisher Charles Scribner III writes that Fitzgerald blamed Gatsby’s initial commercial failure on the fact that “the book contains no important woman character and women control the fiction market at present.” Seeing as how Daisy is at the heart of the novel and of Jay Gatsby’s very existence, we can only infer that F. Scott meant his book contained no sympathetic woman character. Edwin Clark, writing the first New York Times review of Gatsby in April 1925, seemed to agree: the East Eggers, he said, had a “meanness of spirit, a carelessness and absence of loyalties…dumb in their insensate selfishness, and only to be pitied.”

Carelessness—which is also Nick Carraway’s final assessment of the Buchanans—happens to be among the nicer things that critics have said about Miss Daisy née Fay. Academics have compiled lists of the brackish opprobrium slung at Gatsby’s girl: she’s a woman of “vicious emptiness,” of “criminal amorality,” a “destroyer” and “femme fatale,” the “villain-heroine” who stands as both “Dark Lady and Fair, witch and redeemer.” Alfred Kazin found her “vulgar and inhuman.” A literary friend judged her “vapid, naïve,” a superficial “Lotus Eater” narcoticized on privilege and blind admiration.

Carrie’s Margaret White. Olivia Foxworthy of Flowers in the Attic. The Goonies’ Mama Fratelli—there are plenty of terrifying movie mothers, but the bad moms of cinema aren’t the only ones who have us praying for the well-being of their spawn. The evil mothers of television have also carved out a niche in our hearts—and nightmares.

And just in time for Mother’s Day, The Daily Beast lists this season’s most memorable meanie moms on TV—from Mad Men’s Betty Draper (January Jones) and Game of Thrones’ Queen Cersei (Lena Headey) to Bates Motel’s Norma Bates (Vera Farmiga)—using a Joan Crawford meter-of-meanness we last used here.

David Bowie’s latest—and brilliant—music video for “The Next Day,” the title track off his critically acclaimed album released in early March, depicts a caliginous brothel of sorts run by members of the clergy, with scantily-clad women kissing their hands for cash. Various pale-faced men deliver lashes to their own backs. Gary Oldman plays a priest who revels in the proceedings, dancing provocatively with one of the supposed women of the night, played by a glammed-up Marion Cotillard. The Thin White Duke, dressed like Jesus, performs the song for the crowd and when he points at Cotillard, she experiences stigmata.

The Catholic League, as is their wont, is in a tizzy over the Floria Sigismondi-directed video. League President Bill Donahue went all fire and brimstone on Ziggy Stardust in a message posted on the organization’s site titled “Bowie’s ‘Jesus ‘ Video is a Mess.”